I nonetheless bear in mind the primary time I learn the guide Parinayavum Mattu Thirakkathakalum, that includes three screenplays — Parinayam, Kadavu and Sadayam — written by MT Vasudevan Nair. I had watched all three movies rising up, in all probability greater than as soon as, however studying their texts was a very defining expertise for me. As a young person, it was then that I realised movies are far more than simply actors and their performances. Quickly, I managed to discover a copy of the movie Sadayam (1992) and revisited it, conserving the guide beside me, soaking within the magical method wherein written phrases remodeled into visuals, transferring photographs, and finally an entire movie.
The literary circulate of the work, paired with the excellent characterisations — the place every individual has sharp and robust arcs — additional enriched by vivid imagery and meticulous descriptions, taught the younger me, who was already enamoured with films, priceless classes on cinema. On the similar time, I additionally couldn’t assist however marvel at how MT, famend for his distinctive novels and brief tales, whereby one has the area and luxurious to delve into internal ideas and character backgrounds, might craft such exceptional screenplays — the place one wants to point out greater than inform. Nicely, that was MT Vasudevan Nair; regardless of the medium was, if it concerned language, he aced it, whether or not it was written or visible.
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As a lot of a doyen of Malayalam literature as he was, MT was additionally one of many path-breaking figures within the cinematic panorama, redefining the grammar of the medium at a time when it was nonetheless largely influenced by the traditions and magnificence {of professional} drama. By facilitating the wedding between literature and cinema in Malayalam, MT, alongside different legendary authors like Vaikom Mohammed Basheer, Thakazhi Sivasankara Pillai, Uroob, P Kesavadev and Malayattoor Ramakrishnan, ushered in a brand new period within the business, outlined by tales that evoked humanism and ensured reasonable portrayals of the lives, struggles and redemptions of strange individuals.
Born on July 15, 1933, in Kudallur village of Palakkad district, by the point he ventured into cinema, MT had already received the hearts of numerous Malayalees by means of his impactful and poignant brief tales and novels, together with Naalukettu, Pathiravum Pakalvelichavum, Asuravithu, Manju and Olavum Theeravum, which had been instrumental in shaping trendy Malayalam literature.
Dwelling as much as the hype surrounding his arrival, MT made a spectacular entry into cinema with Murappennu, directed by legendary cinematographer-director A Vincent, which turned a direct success, incomes widespread acclaim. Centred across the observe of cousin marriage, Murappennu additionally uncovered the arbitrariness of blood relations, emphasising that monetary price usually dictates one’s place inside familial constructions. Curiously, the film, starring Prem Nazir, Sharada, Madhu, KP Ummer, PJ Antony and Jyothi Lakshmi, additionally uncovered the hollowness of the so-called status and the “worth of a phrase” that the savarnas usually glorify and put on as a badge of honour, exhibiting how these beliefs are, in truth, up on the market.
MT’s literary mastery and command over the Malayalam language made an immediate impression on each filmmakers and audiences alike. Thus, he continued to obtain initiatives one after the opposite and he delivered distinctive works, with notable titles comparable to Pakalkkinavu (1966), Iruttinte Athmavu (1967), Nagarame Nandi (1967), Asuravithu (1968), Nizhalaattam (1970), Olavum Theeravum (1970), Mappusakshi (1971), Kuttyedathi (1971), and Vithukal (1971), lots of which had been primarily based on his personal literary works.
Each MT’s literary works and movies delved deeply into the material of society and human nature, exposing the gray inside too. He additionally persistently challenged conformist ideologies, distancing himself from the grime of his time. Whereas many filmmakers usually resorted to portraying rape victims as outcasts and even killing such characters off — a trope that persevered till current years — MT took a radically completely different method, asserting that survivors ought to by no means carry the burden of disgrace for crimes dedicated towards them. In Olavum Theeravum, the protagonist Baputty (Madhu) declares with out hesitation that his lover Nabeesa (Ushanandini) has not misplaced even a drop of her dignity or price as a result of rape she confronted. Confronting the perpetrator Kunjali (Jose Prakash), he proclaims, “She didn’t consent to what occurred. Not even a small a part of her coronary heart agreed to it. Realizing totally properly that you just violated her, I’ll marry Nabeesa.” For a society that treats ladies as lesser mortals — not to mention survivors of sexual violence — and worships gods who abandon their wives over accusations of promiscuity, this dialogue and Baputty’s stance are a robust, groundbreaking assertion.
Two years later, when he made his directorial debut with Nirmalyam (1973), MT broke additional away from typical cinematic and societal norms. He crafted a movie that critically examined theism, exposing the futility of blind devotion and questioning the time individuals spend praying for a greater life as an alternative of actively pursuing it. What set MT aside was his potential to weave such robust political commentary into his work with out sacrificing its aesthetic worth. In one among Indian cinema’s most iconic and evocative scenes, Nirmalyam ends with the protagonist, an oracle (PJ Antony), performing a conventional dance earlier than the goddess and in an act of defiance, he spits blood on the deity, condemning the god for ignoring his struggling and ruining his life regardless of his unwavering devotion.
Remarkably, MT refused to restrict himself to a single fashion or style and explored a big selection of themes and narratives. But, all his works carried his unmistakable signature — genuine, deeply rooted characters, significantly ladies, whose internal lives had been meticulously explored, as evident in movies like Kanyakumari (1974), Neelathamara (1979) and Oppol (1981).
Within the Eighties, MT cast impactful collaborations with filmmakers and actors, partnerships that considerably formed his profession and built-in him deeper into mainstream cinema. Throughout this era, he joined forces with filmmakers IV Sasi and Hariharan, delivering exceptional movies comparable to Uyarangalil (1984), Aalkkoottathil Thaniye (1984), Adiyozhukkukal (1984), Anubandham (1985), Panchagni (1986), Nakhakshathangal (1986) and Abhayam Thedi (1984).
Watch Mammootty speaking about MT Vasudevan Nair right here:
Many of those movies featured rising actors Mammootty and Mohanlal, for whom collaborating with MT proved transformative. One of many hallmarks of MT’s scripts was his potential to create alternatives for each actors and technicians to excel. His movies weren’t nearly his writing prowess however collaborative efforts the place each forged and crew member was given the area to shine. Movies like Amrutham Gamaya (1987) and Oru Vadakkan Veeragatha (1989) had been pivotal not solely in establishing Mammootty and Mohanlal as distinctive actors but additionally in enhancing the careers of all concerned. Not simply MT however others additionally obtained prestigious accolades, together with each Nationwide and State Movie Awards, for his or her contributions to films written by him. Whereas PJ Antony turned the primary Malayalam actor to win the Nationwide Movie Award for Greatest Actor for Nirmalyam, Balan Okay Nair (Oppol), Mammootty (Oru Vadakkan Veeragatha) and Monisha (Nakhakshathangal) additionally earned Nationwide Awards for his or her performances in MT’s movies.
MT’s cinematic brilliance turned much more evident by means of his partnership with Bharathan. As a painter-turned-director, Bharathan ensured visually gorgeous storytelling and the director masterfully translated MT’s evocative narratives into putting visuals, creating unforgettable cinematic experiences in movies like Vaishali (1988) and Thazhvaram (1990). Throughout this time, MT additionally ventured into new territories, creating folklore-inspired movies comparable to Perumthachan (1990) and Vaishali whereas additionally exploring genres he had not beforehand tackled, as exemplified by the thriller thriller Utharam (1989), thought-about one of many most interesting Malayalam movies in that style. Within the Nineteen Nineties, MT shifted his focus to darker and extra introspective themes, producing a few of Malayalam cinema’s most emotionally intense movies, together with Kadavu (1991), Sadayam and Sukrutham (1994).
Nonetheless, MT’s repertoire wasn’t restricted to political themes or hard-hitting dramas as he additionally crafted deeply touching movies that explored the intricacies of human relationships and the craving for companionship in films like Ennu Swantham Janakikutty (1998), Oru Cheru Punchiri (2000) — some of the real love tales in Malayalam cinema — and Theerthadanam (2001).
By the 2000s, MT had largely stepped again from cinema, having achieved unparalleled success. His solely main authentic work throughout this time was Kerala Varma Pazhassi Raja (2009), an epic interval drama directed by Hariharan and starring Mammootty. In 2013, MT and Hariharan reunited and revived their shelved 1982 undertaking Evideyo Oru Shathru. The narrative was reworked and filmed anew as Ezhamathe Varavu, that includes Indrajith Sukumaran, Vineeth and Bhavana in key roles.
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Notably, 2024 additionally marked the discharge of Manorathangal, an anthology streaming collection comprising 9 segments primarily based on MT’s brief tales. The collection served as a heartfelt tribute to the legendary Jnanpith awardee, celebrating his unparalleled contributions to Malayalam literature and cinema.
Sure, the passing of MT Vasudevan Nair has created an irreplaceable void within the realms of Malayalam literature and cinema. But, it isn’t a loss, for he departed solely after gifting his individuals, us, each story he had inside him, leaving no story untold or unshared. Thanks, MT, for instructing us {that a} story sans a soul is not any story in any respect.
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